These poems emerged slowly, and through aleatory conversations between Shé and Jen, in which they identified points of connection in and beyond poetry. Both poets are interested in experiment, and in women poets’ voices; both have lived in Western Australia and been captivated by the light, the space, and the vastness of that state; and both poets have spent a fair bit of time in mourning and in responding to the loss of loved ones. They are also interested in movement in creative and scholarly terms. For Shé, the elemental world is a motivating force; for Jen, it’s travel—hence the title of this joint publication.
In his teens, Ross Donlon had poems published in The Bulletin, Australia’s iconic journal, and in 1965, the literary editor predicted ‘an exciting future’ for the young poet. Donlon’s next poem was published thirty-three years later. In a ‘second budding’ he has had many poems published across Australia and overseas and read at festivals both at home and in Europe. For the Record charts his journey as a poet over five decades, including the Bulletin poems, and the later dark and comic poems for which he has become well-known.
This bilingual Homings and Departures anthology presents the absorbing and compelling poetry of 41 outstanding Australian poets in both English and Mandarin. The anthology is the result of a collaboration between poets, scholars and translators from the China Australia Writing Centre at Curtin University, Western Australia; the International Poetry Studies group at the University of Canberra; and Fudan University in Shanghai. Edited by Lucy Dougan and Paul Hetherington, it reflects the importance of international literary and cultural connections as a way of extending our conceptions of ‘home’ and ‘elsewhere’.
Hyperbole, Belinda Rule’s debut full length collection, contains the poems from the 2019 Anne-Elder-commended chapbook, The Things the Mind Sees Happen, as well as a careful selection of previous work spanning the past ten years. These are tender, funny poems about family estrangement, sexual violence, ageing and death.
Penny Drysdale invites readers into her home and her transience as her relationship begins to end. It is never easy to get on with your life. I am the glass is window into these tender invisible journeys.
‘A piercing portrait of the many ways we rebuild after loss. I am the glass is the bark stripped away.’
These poems move freely in time from the 1950s to the present day, from the contemporary to memoir, from gender politics to bushfires and floods. They show you jeeps, trucks, girlfriends and cane-cutters, widgies, Singer sewing machines, tattoos and rats and class grudges.
Sandra Renew uses a range of traditional poetry forms to lay bare some of the gaping fault-lines of gender relations especially as they are experienced by LGBTIQ communities.
Matt Hetherington’s sixth collection is a palindromic homage to the personal, the political, and the personal as political. Filled with playful, sometimes cheeky poetry, Kaleidoscopes is also a book of relationships and gratitude, of things missing and abundant, and of a poet seeking to find his place in a difficult but ultimately joyful world.
To celebrate Ovid’s 2,000th anniversary, editors and poets Nessa O’Mahony and Paul Munden invited 100 poets to respond to Metamorphoses with new poems that explore the many contemporary resonances in that seminal work.
These are poems of love and loss, they imagine a world where hawks fly from the arms of lovers and disappear into a dying world, where golden fish rise from rivers and tangle themselves in hair, where molecules and mist carry messages of love through cites. In this collection, beginnings and endings slice across each other, modern and mythic intertwine, the everyday is stirred into a world of metaphor and incantation. Individual poems chime off each other, creating strands of narrative which circle the collection’s central symbol, the nekhau — small fish-shaped amulets crafted by ancient Egyptians and plaited through the hair of loved ones to ward off drowning. In a contemporary and at times imaginary world, the poems become nekhau, articulating the fears and dangers underlying love in order to subdue them. In doing so the poems transform many tropes of love poetry, repositioning them in contexts both everyday and otherworldly. The bodies in these poems fight against the mortality of love, they borrow lore and build new myths as a way to protect love’s fragility. Glistening with musicality and precision, these poems twist and shimmer like fish leaping toward the fears that have shaped them.
From the author of the award-winning Things I’ve thought to tell you since I saw you last comes a new collection of poems steeped in a sense of dark foreboding. Jumping from the global to the everyday, many of the poems in Nigh chime with the mood that all is not right with the world. Even in the seemingly mundane, or overtly beautiful, Layland finds some uncomfortable truths waiting to be unpicked. Nigh displays the confidence of a poet looking and thinking deeply about the world and offering it up in language as crisp as it is beguiling.
From the author of the David Unaipon award winning novel Dancing Home.
Paul Collis’ first collection of poetry is a book of difficult truths and profound connections. It charts a life lived on the streets, on country, in the deep time of tradition, of relationships to land and family. This book mourns those who have passed, and the current state of places and people held close in the heart and in the kinds of knowledge inseparable from self that might be called ‘being’, but is always much more than that. It is also a poetry of hope in the hopeless, of beauty in small moments, and the overwhelming ‘now’ that is memory.
Over the last five years, from the #Me Too Movement to same-sex marriage, from devastating bush fires to the global pandemic, the online poetry journal Not Very Quiet has dedicated itself to publishing women’s voices from across the globe. Not Very Quiet: The anthology selects poetry that has given voice to the social conscience of the community, constructions of lesbian and queer, the challenges posed to the social construction of gender, as well as the complexities and possibilities of the human condition.
If we are to speak, what is it we must speak? If we are allowed to speak, what is it we must say? Who constitutes the ‘we’ that speaks? Anne Elvey’s new collection frames such questions against the contemporary world and its multiple challenges. These poems in turn explore environmental encounters, subtle and overt expressions of the political, the elisions of history, the embodiment of the world and the nature of grace, through poetry sharply attuned to its subject matter. For Elvey, poetry has an obligation not only to chart intimate moments, but also to draw those moments towards the numinous matter of our Earthy habitats.
In Our Tongues Are Songs, Rico Craig pursues the intimate, the voices people use as they speak to their private fears. Craig brings his unique ear for lyricism, his eye for human need, to bear on the promises people make to themselves as they attempt to find solace, companionship and meaning. His haunting use of image fills the day-to-day world with the uncanny — bats are comforted by children, old women weep tattoos, the earth burns, television stars comfort teenagers as they struggle with anorexia, encroaching sands spill the dead into an unnamed city. This book spans voices, generations and countries; it sides with the young and old as they try to carve their humanity from the swirls of despair.
‘These poems of bone, sky, night and earth pulse with danger and exaltation. Selves spectral, imagined and embodied dissolve the solitary ‘I’ to imagine flocks of selves, dancing with knives in their hands, standing on rooftops, never forgetting what it is to be at our wildest. They overflow with loosened energy, yet their crafting is meticulous, brilliant and exact.’ Felicity Plunkett
Anita Patel’s second collection of poetry takes us on a voyage into history, heritage, mythology and family. These poems scatter and drift through layers of time, across cultures and continents. They offer glimpses into past worlds and present realities. They pay tribute to the yearning of a migrant heart, the search for home and the tensile strength of women. This is poetry that peers through the cloudy lens of memory to examine the tattered web of relationships, language, landscapes and stories which make up a self.
In this lyrical, often wry, sometimes heartbreaking and just occasionally horrifying selection of poems, internationally award-winning poet, Anne Casey invites you to step into her shoes, take a self-guided cruise through the State of Womanhood with its redacted facts and multiple travel warnings, feel the red hot sting of betrayal, and leave behind nights of secrets and dread to rise with the rage that her fine sisters gave, a scattering of blue skies and a pocketful of hope on the long walk home.